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text:
Q: Is the space of probability densities on $L^1$ compact with respect to the strong topology? Let ($\Omega, \sigma,\mu$) be finite measure space. Define the space of densities, $\mathcal{D}$,  as follows,
$\mathcal{D}=\{f \in L^1(\Omega):f \geq 0,||f||=1\}$. Then, in general, is $\mathcal{D}$ compact in $L^{1}(\Omega)$?
If not, then does compactness hold for $\Omega= \mathbb{R}^n$, with $\sigma$ as the standard Borel sigma algebra and $\mu$ as the Borel measure on $\mathbb{R}^n$?

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Hmong market in St. Paul wants to expand to attract tourists
Programs | MPR News Feature | Types | Reports | Grants | Legacy Amendment Digitization (2016-2017) | Topics | Economy |
Listen: Hmong market in St. Paul wants to expand to attract tourists
A no-frills Asian shopping bazaar in St. Paul attracts thousands of customers a day. Now, the owner of International Market wants to expand his business into a tourist destination. He's asking the city of St. Paul for 2-million-dollars in tax breaks to complete his dream. But first, he may need to improve his reputation with city inspectors.
In 2008, Minnesota's voters passed the Clean Water, Land and Legacy Amendment to the Minnesota Constitution: to protect drinking water sources; to protect, enhance, and restore wetlands, prairies, forests, and fish, game, and wildlife habitat; to preserve arts and cultural heritage; to support parks and trails; and to protect, enhance, and restore lakes, rivers, streams, and groundwater.
Efforts to digitize this initial assortment of thousands of historical audio material was made possible through the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund. A wide range of Minnesota subject matter is represented within this collection.
MPR News Feature

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'Don't make me sick' ● Trump's war ● WV teachers walk and win
► From Teamsters 117 — Teamsters have a message for ICS: 'Don't make me sick' — The message was loud and clear, scrawled on the dust masks Teamsters members at Industrial Container Services (ICS) wore today as they sanitized and refurbished steel barrels for reuse: Don't make me sick, ICS. The company wants its Teamster employees to take a major hit on their health and welfare coverage with significant increases to their out-of-pocket medical expenses… Members are sick of the company's bullying tactics. Before this morning's safety meeting, the workers gathered in the breakroom, put on the masks and attached stickers to their hardhats that read, "Ready to strike!"
ALSO at The Stand — Teamsters vote to OK strike at Industrial Container Services
THIS WASHINGTON
► In today's (Everett) Herald — Arlington school bond again falls short of required 60% — As ballots from last Tuesday's special election have slowed to a trickle, it appears the Arlington School District bond measure will again fail to meet the 60 percent approval threshold required by state law. As of 5 p.m. Friday, the proposal had received 52.6 percent voter approval.
EDITOR'S NOTE — Let the majority rule!
► From KNKX — Legislative committee advances bill that would allow school districts to raise more local taxes — Lawmakers continue to wrestle with the new education-funding system they put in place in 2017, which increased the state property tax as a way to satisfy the long-running McCleary school-finance lawsuit. The approach limited how much districts can raise through local levies. One bill addressing how much school districts can collect through local tax measures recently passed out of a state Senate education committee.
EDITOR'S NOTE — Let the local voters decide! (Speaking of which…)
► In today's News Tribune — Eyman lawyers say Office Depot chair removal was accident, but he faces theft charge — Attorneys for Tim Eyman, the anti-tax activist and initiative promoter who is accused of stealing a $70 chair from an Office Depot store in Lacey last week, say it was an accident, not theft.
THAT WASHINGTON
► MUST-READ in today's NY Times — Intimidation, pressure and humiliation: Inside Trump's two-year war on the investigations encircling him — An examination by The New York Times reveals the extent of a sustained, secretive assault by Trump on the machinery of federal law enforcement… The story of Trump's attempts to defang the investigations has been voluminously covered in the news media, to such a degree that many Americans have lost track of how unusual his behavior is. But fusing the strands reveals an extraordinary story of a president who has attacked the law enforcement apparatus of his own government like no other president in history, and who has turned the effort into an obsession. Trump has done it with the same tactics he once used in his business empire: demanding fierce loyalty from employees, applying pressure tactics to keep people in line and protecting the brand — himself — at all costs.
► From The Hill — Trump declares New York Times 'enemy of the people' — Trump labeled The New York Times "a true enemy of the people" after an extensive report (above) detailing the ways in which he has sought to influence the investigations into his presidency and allies.
► In today's NY Times — Trump to tap other military money for wall before emergency funds — Trump's plan to spend billions of dollars more on his border wall than Congress approved involves more than his invocation of emergency powers to redirect military construction funds. Before spending any of that money, Trump first intends to tap $2.5 billion in other Defense Department funds under a different claim of executive authority.
► In today's Washington Post — No one in Congress should be allowed to avoid voting on this presidential power grab (editorial) — Congress has already provided a means of checking executive overreach through the termination of a declared emergency by a simple majority vote of both chambers. If the Democratic House disapproved Trump's declaration, the Senate would be required to vote on the matter, too, within 18 days. Crucially, such a resolution would be considered "privileged" and could not be filibustered. But Trump retains the power to veto a joint resolution. Therefore, Congress could terminate the emergency only by overriding his veto, with a two-thirds vote of both houses. As much of a long shot as it may seem…. No one in the House or Senate should be allowed to avoid voting on this presidential power grab, and being held accountable for it by the voters.
► From HuffPost — Trump administration says it will rescind $929 million in funds for California high-speed rail — The announcement comes one day after California joined a 16-state lawsuit challenging the president's emergency declaration to fund a border wall.
► In today's NY Times — Election fraud the GOP won't stress about (editorial) — North Carolina election officials are detailing how a longtime political operative, working for a Republican candidate, conspired to steal an election last year. Turns out, voting fraud is as real as Russia's crusade to put Trump in the White House. It just looks nothing like what Republicans keep hitting the panic button over. Which tells you even more about Trump and his party than it does about the so-called perils of voter fraud.
► In today's NY Times — West Virginia teachers walk out (again) and score a win in hours — The relentless string of teachers' walkouts continued on Tuesday in West Virginia, where educators held the second statewide walkout in less than a year, denouncing a bill that they said was retaliatory toward educators. Hours later, their action, which shut down schools in all but one of the state's 55 counties, led to a victory. The State House of Delegates voted to indefinitely table the bill, which would have allowed tax dollars to pay for private school tuition and established charter schools in the state for the first time. Still, union leaders said the walkout would continue on Tuesday, to ensure Republicans in the State Senate would not attempt to revive the measure.
EDITOR'S NOTE — As noted yesterday: When we fight, we win.
► From Vox — Illinois and New Jersey just passed a $15 minimum wage. That means 1.8 million workers get a raise. — Years of strikes and rallies to raise the minimum wage across the U.S. are starting to pay off. Earlier this month, New Jersey became the fourth state in the country to raise its minimum wage to $15 an hour. Illinois is poised to become the fifth one.
Again?!
► From KQ2 — Missouri could once again vote on 'right-to-work' — Just months after Missouri votersrejected Proposition A, a new petition could place another right-to-work initiative on the 2020 ballot. Last week, a petition from former GOP chair Todd Graves was certified for circulation that would allow voters to decide the issue again. During the 2018 primary election 67 percent of Missourians voted against becoming a right-to-work state.
► In the Kansas City Star — Missouri voters have spoken on right-to-work law. Why do Republicans want a do-over? (editorial) — We know what Missourians think of right to work. It's an effort to break unions and pay workers lower wages. The state doesn't need another messy, expensive debate on right to work in anytime soon.
► In the Buffalo News — New Era Cap reaches severance agreement with workers, will close plant at end of March — New Era has reached a severance-package agreement with the CWA, the union that represents most of the company's 200-plus workers at the Derby, NY, manufacturing facility it is closing next month.
EDITOR'S NOTE — The Derby facility manufactured about 4.5 million of the 65 million caps the company produces each year. Major League Baseball's exclusive, lucrative contract with New Era requires that the hats players wear on-field during games must be Made in the U.S.A. Until now, those caps have been made by family-wage unionized embroidery workers in New York. Production of these hats are being moved to a non-union production facility in "right-to-work" Florida. Soon the manufacture of all New Era caps will be outsourced to companies in China, Vietnam, Bangladesh and Haiti, except those made in Florida to satisfy the MLB's on-field requirement.
The Stand posts links to Washington state and national news of interest every weekday morning by 10 a.m.
Posted by David Groves on Feb 20 2019. Filed under DAILY LINKS. You can follow any responses to this entry through the RSS 2.0. Both comments and pings are currently closed.


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screenshot folder
LAST UPDATED : 2 Jan 2023, 17:42 IST
How to find & change the steam screenshot folder?Screenshots allow you to grasp exactly what you're viewing on your screen and share with others or reference subsequently. If you are an avid gamer, you must have experienced an instance when an amazing moment occurs in a game, the easiest way to keep it is to convey it to your friends by taking a screenshot. True! Isn't it?
How to take screenshots on Windows 11Wondering how to take a screenshot on Windows 11? Taking screenshots has become easier with Windows 11. Whether it's a full-screen grab, partial screenshot, or simply using keyboard shortcuts, it's an easy process. Here we tell you three simple ways in which you can take screenshots in Windows 11
How to take screenshots on ChromebookNowadays, grabbing a screenshot on your computer can be useful in so many things like sharing it with someone when facing some technical glitch, troubleshooting an issue, takings ideas for your next assignment, or helping someone by showing something, the list goes on and on.
How to take screenshot on ChromebookSharing screenshots can be extremely helpful and is excellent evidence in malicious communications, support allegations, and many other situations. You might know how to take a screenshot on your mobile device. But, if you are not able to take a screenshot from the Chromebook you are using, we will help you by informing the entire process of taking screenshots from your device.
How to take a screenshot on Apple Watch
How to stop Google Photos from backing up screenshots and other foldersIf you are an Android user, then you must be aware of Google Photos and its feature that allows users to back up their entire gallery to cloud and free up space on the smartphone. Also, the app offers unlimited cloud storage if a user chooses to upload them in high quality.
What is the shortcut key to take a screenshot on a laptop?
How to take a screenshot on a Windows 10 machineThere are several ways to take screenshots on Windows 10 PC and here we are with 6-ways you can do that on Windows.
Google Photos is getting a major fix with Android 12 update that will save storage spaceIn order to help users save on their Google Photos storage, Google is introducing a new feature in the latest Android 12 operating system in which screenshots and screen recordings will not get automatically backed up on Google Photos.
How to take screenshots on Chromebook: A complete guideJust like macOS and Windows, ChromeOS also offers multiple ways to capture screenshots and in this guide, we are going to tell you all about taking screenshots on a Chromebook.


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The Four-Lane Motor Parkway and an Aerial View of Queens in 1924
For the second VanderbiltCupRaces.com post of 2009, I have improved the format of my December 31st post and added a rare 1924 aerial view.
The post includes amazing images from the Queens Borough President's Collection that shows two Long Island Motor Parkway bridges over Winchester Boulevard in Queens. Yes, in November 1932, there were two bridges at this location and the Motor Parkway looked like a four-lane parkway. Alas, it was just a temporary illusion. Here's the story (click on the images for enlarged views):
As seen on page 71 of our book The Long Island Motor Parkway, the first bridge over Winchester Boulevard was built in 1912 and used railroad-type trestle construction as required by New York City.
In 1930, New York City decided to widen Union Turnpike to make it a major east-west road through Queens. However, the Motor Parkway in the area of Winchester Boulevard was in the path of the expansion. By an agreement among the city, the owners of the Motor Parkway and nearby Creedmoor State Hospital, New York City moved a section of the Motor Parkway further north of the original location. This agreement was described in a New York Times article on June 22, 1930.
This photo shows pre-expansion Union Turnpike looking east on March 3, 1932. The buildings and chimney stacks of Creedmoor State Hospital are straight ahead and the Long Island Motor Parkway is to the left with the two bridges over Winchester Boulevard further east.
In a close-up of the two Long Island Motor Parkway bridges, you can see that the new concrete bridge used the same design as three Queens bridges over 73rd Avenue, Hollis Hills Terrace and Springfield Boulevard (all still proudly standing!).
This is the March 3, 1932 view from atop the old Motor Parkway bridge over Winchester Boulevard.
An even closer look shows the ever-present line of concrete posts bordering the Motor Parkway. The newly-built section of the road is to the left.
Finally, as noted in the New York Times article , a pedestrian bridge to Creedmoor State Hospital was also built over the Parkway further east of Winchester Boulevard. Click on the image and you will see the sign on the bridge reads: "STAY TO YOUR RIGHT".
As shown in this 1924 Queens aerial, the pedestrian bridge replaced a farmway bridge connecting the many farms north and south of the Motor Parkway. From left to right, four bridges can be seen in this 84-year old aerial; Winchester Boulevard Bridge, the farmway bridge (which went over the parkway), Commonwealth Boulevard Bridge, and Little Neck Parkway Bridge.
A Happy and Healthy New Year!!!
Images and Photo Galleries
Long Island Motor Parkway
winchester boulevard
union turnpike
queens bridges
queens aerials
Jan 02 2009 bob valentine 1:50 PM
north of bridge 4 on arieal photo little neck parkway, would that be what today is the Queens County Farmhouse Museum?
You are exactly right!
Jan 04 2009 Mike Leahy 3:44 PM
Hi Howard,
You have a great web site and I appreciate all of the work you have put into it for my enjoyment. The photos on your web site are of great value, but are almost impossible to view with any clarity since you have place a large watermark and 'X' on each photo. Many of the photos are public domain or look like they were obtained from governmental agencies. If so, is there a need to make the photo's unviewable for your readers? All of the photos on the Eastman Kodak archives web site are available to all viewers without watermarks. I do not think that anyone will be taking your photos and developing a web site using them.
Mike Leahy, Cincinnati, Ohio
p.s. A few years ago, I attended a family event and stayed in a motel on a street that was once part of the track. I could almost hear the cars go by if I closed my eyes.
Jan 04 2009 Howard Kroplick 8:23 PM
Thanks for the positive comment and suggestion.
Several of the images were given to me with the requirement that they could only be placed on the website with a watermark. When possible in future posts, I will try to obtain the rights to use images without watermarks.
Jan 05 2009 Mitch Kaften 1:04 PM
The article says that the new road was diverted 1,800 feet north of the old road. Yet the picture of the overpasses shows them next to each other. I guess the 1,800-foot distance was not at the point of Winchester Blvd. Is there any way to know exactly where the old and the new roads lay?
Mitch Kaften
Jan 07 2009 DanaK 10:16 PM
Hi Mitch,
You are correct. The two bridges appear less than 50 feet apart at Winchester Boulevard. The "two" Motor Parkways diverge farther apart as they approach Creedmor State Hospital.
Next week, I will post several 19020s and 1930s aerials of this section.


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An Unexpected Treat from Dave Holland and Pepe Habichuela
Spring cleaning has its rewards. Pretty much every attempt to clean up the server at Lucid Culture HQ causes strange and sometimes beautiful things to float to the surface. Case in point: this album. The media kit file wouldn't open and went into the trash, but the tracks remained. A listen to the first song was addictive – it was impossible to stop with the next track, and the one after that. The first begins with a long, flamenco-tinged bass solo, of all things. Flamenco guitar follows it, solo, darkly atmospheric rather than all melodramatic like the Gipsy Kings, with the thump of a cajon in the background. It's basically a modal vamp on a couple of chords, the guitar with a harplike clarity and articulation. What was this magical music and who was playing it?
A little googling revealed the answer: back in October, legendary jazz bassist Dave Holland joined forces with Spanish gypsy flamenco guitarist Pepe Habichuela and his son Joseli (of crossover flamenco group Ketama) along with a percussionist, and put out this tremendously cool album, simply titled Hands. As it turns out, this is the result of a rather long process, Holland seeking to immerse himself in flamenco and become a good flamenco bassist rather than trying to jazz up the music, sometimes playing vocal lines on his bass. To his credit, not only did he become a good flamenco bassist, he keeps very good company. Although this is a pretty straight-up flamenco album, there are other influences here, especially Brazilian. What's most striking is how judicious and thoughtful the guitar is, and how unpredictable the compositions are. There are crescendos to big choruses, but no cliches, and also no grand guignol, and a lot of counterintuitive touches. For example, on Camaron ("Shrimp"), Habichuela essentially plays an indie rock melody, Holland responding with a long, aptly cantabile solo. Then, on El Ritmo Me Lleva ("The Beat Moves Me"), the two guitars and bass follow a rhumba beat, with an airy, almost Pat Metheny-ish feel.
The title track starts out hinting at samba but quickly goes back to a tersely bristling flamenco groove, following an absolutely delicious, un-flamencoish chord progression and then a long, pensive bass solo that again stays solidly in flamenco territory. Likewise, Holland mimics the guitars on the most traditional number here, Puente Quebrao. Habichuela offers a solo guitar tribute to his new bass-playing friend; Joyride, by Holland, is the gentlest, most Brazilian-inflected tune here. There's also the joyously crescendoing, tango-tinged Subi la Questa; Holland's Whirling Dervish, a spotlight for Josemi's rapidfire fretwork, and the rippling closing track. What a fun discovery at close to midnight on a work night – it's less like being transported to a sangria-fueled gypsy campfire than to Holland's studio where this beautifully intricate stuff began life.
April 11, 2011 Posted by delarue | gypsy music, Music, music, concert, review, Reviews, world music	| acoustic guitar music, album review, cd review, dave holland bass, dave holland jands, dave holland pepe habichuela hands, dave holland pepe habichuela hands review, flamenco, flamenco guitar, flamenco music, grupo ketama, guitar music, guitarra flamenco, gypsy music, instrumental music, joseli habicheula, ketama banda, ketama flamenco, Music, musica flamenco, spanish music, world music | Leave a comment
The Peña Album Explores Afro-Peruvian Flavors
Guitarist Cory J. Wong and producer Eric Foss wanted to capture the spirit of Afro-Peruvian music at the source, so they caught a flight to Lima and made the Peña Album. Wong has a bright, thoughtfully spare acoustic style, accompanied occasionally by bassist Jorge Roeder and singer Sofia Rei Koutsovitis and a rotating cast of percussionists including Chico Chavez, Hugo Alcazar and one simply credited as "Larry." Recorded on the fly in various locations around the city, often with local musicians, it has the spontaneous feel of a field recording. Peruvians, along with the African slaves imported by the conquistadors, suffered as badly under imperialism as the rest of the world's indigenous peoples: musical instruments were banned, the result being the invention of all sorts of clever instruments, the most famous being the cajon (which in its first incarnation was simply an inverted wooden crate). This album has a remarkable similarity to Jordi Savall's recent excavation of baroque-era latin music, El Nuevo Mundo: Folias Criollas, in that it reminds what a melting pot the "new world" was for everyone involved. The African blues progression is everywhere, but so is the flamenco guitar, and the huaynos and criollo songs that predated both of them here.
The album alternates instrumentals with vocal numbers: Wong's carefree picking lights up several flamencoish numbers along with the acerbic, plaintive Mi Corazon Roto and a surprisingly big crescendo on the stately yet slinky San Miguel de Piura. Others follow tricky, intricate dance themes. A couple of songs here foreshadow what would happen when this music came in contact with rock and the amazing, surfy sound of chicha was born. Roeder makes the most of his presence here, including a couple of somewhat devious, percussive solos. Koutsovitis adds jazz nuance; Paloma Godoy offers a more traditional, stately lead vocal on a waltz tune. The best song here is the somewhat wry, stop-and-start Huaqueno Viejo, Alberto Gil's guitar and vocals reminding that essentially, almost all of this was meant to be played as party music. Because of the nature of the recording, the sound is a little boomy, although listeners who prefer mp3 sound won't notice. The album comes with an accompanying DVD (not viewed here) in a delightful wood gatefold case on the aptly named Secret Stash Records.
January 22, 2011 Posted by delarue | folk music, latin music, Music, music, concert, review, Reviews, world music	| acoustic guitar music, acoustic music, afro-peruvian music, album, album review, cd review, chico chavez percussion, cory j. wong, cory wong, creole music, eric foss prodducer, flamenco music, folk music, guitar music, Hugo Alcazar, jordi savall, jorge roeder, latin folk music, latin music, Music, music review, musica criolla, musica folklorica, musica latina, musica peruana, paloma godoy, pena album, pena music, peruvian folk music, peruvian music, secret stash records, sofia rei koutsovitis, world music | Leave a comment
The Jesus Taco Put an Original, Literate Spin on Americana
Swiss-based lo-fi Americana trio the Jesus Taco's debut album takes its cue from field recordings: it's as if they decided to record everything in their collective songbooks. Along with the fully realized creations, there are the fragments, the unfinished numbers and sonic japes that fly by and are gone almost before you realize it. Perhaps to maintain a flow, pretty much every track here segues into the next. Frontman/guitarist Brett Davidson is a strong singer with some Gram Parsons inflections, accompanied by Sascha Greuter on acoustic and electric guitars along with respected luthier Tyko Runesson on mandolin, guitars and blues harp. Darkness alternates with good humor and some hijinks that sometimes seem more fun to the band than to an outsider along with others that are more accessible, and hard to resist. The longer songs and instrumentals are separated by a series of miniatures: simple fingerpicked melodies, astringent washes of feedback, a couple of brief, tuneful ragtime piano interludes, some folk-funk and what seems to be a woman laughing her way through either quoting or impersonating some ditz from reality tv.
The best song here is The Meek, a jangly, symbolically charged folk-rock gem:
When they found me on South Main
There were bruises on my brain
So they put me on ice
The charity wards were swollen with sorrow
But the nurses were nice…
Said I wanted to kill
So they put me on pills for a week…
Wretched are the ways of the weak
And the ways we pray for a winning streak …
The casual ominousness of Ten O'Clock evokes Lou Reed's Sunday Morning, down to the glockenspiel. A simple litany of wanting more, and more, and more, wastes no time in making its point. One of the later numbers blends sci-fi imagery with an eerie rural milieu; there's also the aptly titled, cantabile acoustic guitar instrumental So Calm, something that wouldn't be out of place in the later works of John Fahey, a brief New Orleans/punk rock interlude that evokes the Dead Milkmen, and a gently fingerpicked acoustic ballad in Swedish. It's another welcome surprise from upstart Swiss label Weak Records.
December 5, 2010 Posted by delarue | Music, music, concert, review, Reviews, rock music	| acoustic guitar music, acoustic rock, americana, americana music, americana rock, brett davidson, brett davidson music, brett davidson poet, brett davidson songwriter, dead milkmen, folk music, folk rock, freak folk, guitar music, indie rock, instrumental music, instrumental rock, jesus taco, john fahey, lou reed, sascha greuter, swiss bands, swiss rock, tyko runesson, weak records | Leave a comment
CD Review: Ana Moura – Leva-Me Aos Fados
The title of fado sensation Ana Moura's latest album translates as "take me to the fado club" in Portuguese. What is fado? The national music of Portugal, sad acoustic guitar ballads of lost love and longing typically sung by women. The influence of iconic chanteuse Amalia Rodrigues is everywhere here, from the spiky string band arrangements (although these are significantly pared down), to the way Moura's slightly breathy voice takes on an insistent, sometimes accusatory edge at the end of a phrase. Which enhances the plaintiveness of the songs (most of them by popular guitarist/producer Jorge Fernando) – fado (Portuguese for "fate") is all about loneliness and transcending it. Behind her, Fernando's playing blends seamlessly, often hypnotically with Portuguese guitarist Custodio Castelo, along with Felipe Larsen on electric bass. To say that an album is good to fall asleep to is typically an insult, but as wee-hours music, fado is unbeatable, and this cd fits right in – it's already gone platinum in Moura's native land.
Like a lot of stylized genres – blues, funk and reggae to name a few – fado is frequently self-referential. What kind of fado is she singing? She's feeling fado, she wants to go out to hear some – or sing some. The narrator in the opening title cut just wants to go out and lose herself in the music; in the scurrying dance that follows, she sees her recent breakup as inevitable, in the commercials on tv, in newspaper headlines and even the law. The slow ballad Por Minha Conta (On My Own) ends as "the voice of a silent scream wants to know me." But all is not despair: the bouncy Caso Arrumado (The End of the Affair) reminds the lover who abandoned her that there will be no second chance, and the concluding cut, Na Palma de Mao (In the Palm of Your Hand) is a warning, essentially, don't play with me because you're playing with fire. If most of this sounds much the same, that's because it's supposed to: no drum machines, no heavy metal guitar, just plenty of simple poignancy. It's out now on World Village Music.
May 25, 2010 Posted by delarue | Music, music, concert, review, world music	| acoustic guitar music, acoustic music, ana moura, ballad, chanteuse, custodio castelo, european pop, fado, fado music, felipe larsen, female singer songwriter, jorge fernando, música fado, música portuguesa, mediterranean ballad, pop ballad, pop music, portuguese music, portuguese pop, singer, singer-songwriter, world music | Leave a comment
Genre-Smashing New Guitar Albums from Chris Burton Jacome and Lawson Rollins
Chris Burton Jacome and Lawson Rollins are both gifted acoustic guitarists with individual voices, each with an innovative, flamenco-inspired approach and a new album out. Jacome imaginatively blends both rock and Middle Eastern melodies within a traditional gypsy flamenco framework, while Rollins brings a biting flamenco edge to his groove-oriented world jazz instrumentals. If flamenco or gypsy guitar is your thing, both of these guys should be on your radar, particularly since each has his best days ahead of him.
Jacome is a feel-good story: as a teenager, he wanted to be Eddie Van Halen, but was happily disabused of that fantasy when he discovered flamenco. He immersed himself in it the old-fashioned way, learning from the source from Roma in Spain. His new album Levanto is a fullscale ballet, a theme and variations complete with dancing – as a purist, he's continuing a centuries-old tradition that blends music with dance, legend and storytelling. Dynamics are his strong suit: he's the rare guitarist you actually want to hear more of (lots more of, actually – as with Rollins, he's sometimes conspicuously absent on his own album). Backed by the vivid, incisive violin of Jennifer Mayer, Adrian Goldenthal on bass, Kristofer Hill on percussion and a trio of brassy vocalists (Chayito Champion, Olivia Rojas and Vanessa Lopez), the group alternate between fiery dance instrumentals, dramatic ballads, poignantly fingerpicked passages and a lot of tap-dancing. Jacome makes artful use of the Arabic hijaz scale as well as interpolating catchy rock passages within the compositions' stately architecture. The problem is that as an album, the segues are jarring – just when a song seems about to sail joyously over the edge, here come those dancers again. It's easily solved once you upload the tracks and sequence them yourself (it should be emphasized that fans of oldschool flamenco will have no problem with this; however, a lot of momentum gets lost if you just leave the tracks in their original order). What this really should have been is a DVD – it leaves the impression that there's a whole side to the spectacle that doesn't translate if the audio is all you have.
Rollins comes at flamenco as a jazz player with blazing speed and a wealth of original ideas: by the time the fifth track begins, he's delved into rhumba, samba, Cuban son and back again. Like Jacome, he has an inspired cast of characters behind him including Charlie Bisharat on violin, Dave Bryant on percussion, the great Iranian composer Kayhan Kalhor guesting on kamancheh on one track and Airto Moreira, Flora Purim and their daughter Diana Booker contributing backing vocals. Rollins tosses off one lightning phrase after another, sometimes handing them off to Bisharat, other times to the wryly muted trumpet of Jeff Elliott. He imaginatively works the traditional descending scale of flamenco music in all kinds of new ways, even adding some tersely textural electric guitar beauty to the title track. The highlight of the cd is the triptych at the end, the Migration Suite, upping the ante with biting, Middle Eastern flavored arrangements and motifs. The problem here is the production: when there are horns here, they're so compressed that they sound like a synthesizer, an effect that compromises all the playing here, even Rollins'. Where the Brazilian vocalists might have been able to contribute something memorable, they're as buried in the mix as the Jordanaires on an old Elvis record. Even Kalhor gets flattened out. There may be a reason behind this: one of the cuts here was a "most added" track on easy-listening radio earlier in the year. Which on one level is fine, Rollins deserves to be heard – but in a context that does justice to the fire and imagination of his playing, his compositions and the peers he plays with. More than anything, this reminds of the work of another quality guitarist, Peter White, whose series of world music-inspired acoustic instrumental albums about 20 years ago typecast him as an easy-listening, smooth jazz guy rather than the world class player he is.
Lucky Arizonans can see Chris Burton Jacome play the cd release show for this one at the Chandler Center for the Arts, 250 N Arizona Ave. in Chandler on May 2.
April 27, 2010 Posted by delarue | Music, music, concert, review, Reviews, world music	| acoustic guitar, acoustic guitar music, Adrian Goldenthal, Airto Moreira, arab music, arabic music, brazilian music, Chandler Center for the Arts, charlie bisharat, Chayito Champion, chris burton jacome, chris burton jacome Chandler Center for the Arts, chris burton jacome levanto, Dave Bryant percussion, Diana Booker, Diana Booker singer, flamenco, flamenco guitar, Flora Purim, fusion jazz, guitar instrumental, guitar music, gypsy jazz, jazz fusion, jeff elliott trumpet, jennifer mayer violin, kayhan kalhor, Kristofer Hill, lawson rollins, lawson rollins Espirito, levanto, middle eastern music, musica son, olivia rojas cantante, olivia rojas singer, peter white guitarist, rhumba, samba, smooth jazz, spanish music, vanessa lopez cantante, vanessa lopez singer, world jazz, world music | Leave a comment
A Duel Amid the Pews
"Is there anyone else who needs to leave?" grinned classical guitarist Bret Williams, "Like the guy in the back there?" He was referring to the screaming rugrat who'd erupted in rage at the end of the La Vita/Williams Guitar Duo's first song, an anonymously springtimey piece by Brazilian composer Sergio Assad. As welcome as it is to see classical music on a program outside of the usual midtown concert halls, the infant slowly wheeled outside by a lackadaisical mother never would have made it past security at Carnegie Hall. Apparently, the church fathers at St. Paul's Chapel today were too nice to turn her away. And this was somebody who obviously wasn't homeless. Memo to parents: you had a choice, you had the kid, now you pay the price. No concerts for at least four years (for the kid, anyway).
What started inauspiciously got good in a hurry. Duetting with Williams was Italian guitarist Giacomo La Vita, whose fluid, brilliantly precise playing made a perfect match for Williams' lickety-split yet subtle fingerpicking. The two ran through two pieces by Manuel de Falla, the romantic, flamenco-inflected Serenata Andaluza and the swaying, 6/8 Danza Espanola, then did two Scarlatti pieces that La Vita had arranged himself. In music this old, the emotion is in the melody, not the rhythm, and both of them dug deep into the stateliness of the tunes to find it.
The high point of the show, and probably the drawing card that got the audience in here on a cold, rainy Monday was Astor Piazzolla's 1984 Tango Suite, another original arrangement for guitar. It's unclear if the pantheonic Argentinian tango composer actually knew Charles Mingus personally, but the third piece in the suite definitely had the same kind of defiant scurrying around that the great American jazz composer was known for, beginning with a chase scene, running through all kinds of permutations to arrive at a fiery chordal ending. The two parts which preceded it began darkly reserved, then became expansively jazzy.
"We usually have an intermission, but we have to get up to the Upper West Side to teach," explained Williams. "To a bunch of kids who probably haven't even practiced. We've got to be there at 2:30!" And with that they burned through yet another of their own arrangements, this for De Falla's Ritual Fire Dance, an orchestral piece every bit as volcanic as the title would imply. An impressively good crowd, especially for the time of day and the drizzle outside, responded with a standing ovation. Obviously, fans of acoustic guitar music will like these guys best, but they cover vastly more terrain than most of their colleagues, a savvy move because it will earn them more of an audience. One hopes enough to eliminate the need to rush off to a midafternoon private-school teaching gig after they've finished playing a great set.
April 28, 2008 Posted by delarue | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews	| acoustic guitar, acoustic guitar music, astor piazzolla, brazilian music, bret williams, chamber music, classical guitar, classical guitar music, classical music, flamenco music, giacomo la vita, la vita williams guitar duo, manuel de falla, scarlatti, sergio assad, tango, tango guitar, tango jazz, tango music | Leave a comment
Lenny Molotov Live at Rockwood Music Hall, NYC 2/16/08
Lenny Molotov is the greatest guitar-god songwriter you've never heard of. Actually, you probably have: he plays lead guitar in Randi Russo's band. But his own work is just as good. Richard Thompson is the obvious comparison: technically, Molotov is equally breathtaking, although long extended solo flights are not his thing. Perhaps even more than Thompson, Molotov seems to want to make every single note count for something, to make the music work perfectly in the context of the song. While Thompson's fallback place is traditional British folk, Molotov draws most deeply from the murky well of oldtime delta blues, although he's fluent in country and rock and, to at least some extent, jazz.
Tonight he reaffirmed why club owners like blues acts so much: for some reason, everybody drinks as long as the band is playing, if they're not drinking already. Although Molotov and band didn't hit the stage here til after one on the morning, they kept the crowd of Jersey tourists in the house throughout their long, almost two-hour set. Playing a mix of about 50/50 covers and originals, they impressed with the quality of their musicianship and Molotov's clever, witty, lyrically-driven songs.
They opened with an eerie, minor-key blues chronicling the last few hours of a kid from the projects in Brooklyn who goes out to buy some weed, ends up being entrapped by an undercover cop, panics and shoots the cop and ends up killing himself in the wee hours after running out of options. One by one, Molotov enumerated the obstacles that tripped up the poor guy: "It's too hard to be an outlaw anymore," he lamented. Another equally chilling Molotov original, Faded Label Blues traced the decline of blues/jazz legend Hoagy Carmichael's career. Molotov has a remarkable political awareness which made itself apparent in these two songs as well as a bouncy, uncharacteristically sunny, major-key tune titled the Devil's Empire (as in "I saw the devil's empire coming down").
Their covers were just as good. Molotov's version of St. James Infirmary Blues ostensibly stays true to the original, fast and driving. Backing Molotov were an upright bassist as well as violinist Karl Meyer and harmonica wizard Jake Engel. Meyer's soaring, fluid country fiddle made an interesting contrast with Engel's heavy artillery: the guy was channeling Big Walter Horton half the night, blowing eerie chromatics like he wanted to shatter the big plate glass window that serves as the front wall here. They finally wrapped it up at about 3 AM, the club owner still sitting on his perch at the sound board above the stage, carefully tweaking the sound throughout the show to make sure everything was crystal-clear. It's hard to think of anybody else who cares so passionately about the sound in the room or who is as good at it as this guy is. We're going to pay close attention to the Rockwood schedule from now on: if someone you like is playing here, don't pass up the opportunity.
February 18, 2008 Posted by delarue | blues music, concert, Live Events, Music, music, concert, New York City, review, Reviews	| acoustic guitar music, acoustic music, best guitarists all time, best guitarists alltime, best songwriter new york, best songwriter nyc, blues, blues music, delta blues, great guitarist, Jake Engel, karl meyer, Karl Meyer violin, lenny molotov, old time music, oldtimey music, randi russo, Richard Thompson, rockwood music hall, steampunk, steampunk music | 2 Comments
CD Review: Breadfoot Featuring Anna Phoebe – Tea with Leo
The heir apparent to the legacy of John Fahey teams up with an inspired violinist on this gorgeously rustic, fluid album of pastoral acoustic instrumentals. Like Fahey, Breadfoot blends 19th century folk, old-time country and delta blues influences but resists any impulse to be bound by the traditional constraints of any of those idioms. What results is equal parts great Sunday afternoon album and passout record: it'll get you going as well as it gets you down for the night.
The opening track, A Hard Day in Manhattan wanders along with an understatement that would do Fahey proud, an exercise in subtlety and dynamics. It's all melody, no garish flourishes or ostentation. The album's second track, the wistful, 6/8 lament Hilary Rose is over too soon, barely into its sad, thoughtful testimonial. By contrast, the following cut, Polly Loved Me (I Know) is a rousing Appalachian dance, sparks flying from the frets of Breadfoot's six-string banjo (!!) and the strings of the fiddle.
Of the other tracks on the album, the next one, International Esther is probably the most overtly Fahey-esque number and wouldn't be out of place on Blind Joe Death. That's high praise. Very nice hesitation time at the end of the tune. Kecha is guitar only, a brightly bouncing open-tuned Piedmont blues melody a la Pink Anderson. The album's best single cut may be the thoughtful, gently pensive Smoking on the Stoop. The cd concludes with the 6/8 ballad On the Day that I Go, which would make a great soundtrack to that Twilight Zone episode – I think it was called Willoughby. You know the one, the guy takes Metro North from Manhattan, think's he's on the way home but he winds up back in the 1800s, watching thekids take hayrides through the dusty, unpaved streets of his town. There's also a rousing bonus track that kicks in after what seems eternity.
Clocking in at under half an hour, this cd's greatest flaw is its brevity: it leaves you wanting twice as much. And not that the violin isn't a welcome accompaniment here, but for anyone who's heard him live, Breadfoot's idiosyncratic vision and brilliant melodicism come through clearest when he plays solo. See him when you can. When's the last time you danced to a solo acoustic guitar instrumental, anyway? Cd's are available online, at shows and better record stores nationwide.
April 22, 2007 Posted by delarue | Music, music, concert, review, Reviews	| acoustic guitar, acoustic guitar instrumental, acoustic guitar music, acoustic music, americana, americana music, anna phoebe, appalachian music, banjo music, breadfoot, breadfoot featuring anna phoebe, breadfoot tea with leo, country music, fiddle music, folk music, guitar music, instrumental music, john fahey, leo kottke, Music, tea with leo | 1 Comment


text:
Q: Optimizing the loop in a block by block transfer In the below code, is there a way to avoid the if statement?
s = 13;   /*Total size*/
b = 5;    /*Block size*/
x = 0;
b1 = b;
while(x < s)
{
    if(x + b > s)
        b1 = s-x;
    SendData(x, b1);   /*SendData(offset,length);*/
    x += b1;
}

Thanks much!

A: I don't know maybe you'll think:
s = 13;   /*Total size*/
b = 5;    /*Block size*/
x = 0;
while(x + b < s)
{
    SendData(x, b);   /*SendData(offset,length);*/
    x += b;
}
SendData(x, s%b);

is better?

A: Don't waste your time on pointless micro-optimizations your compiler probably does for you anyway.
Program for the programmer; not the computer. Compilers get better and better, but programmers don't.
If it makes your program more readable (@PaulPRO's answer), then do it. Otherwise, don't.

A: If you try to remove if(), it might change your logic and you have to spend lot of time for testing. I see only one potential change:
s = 13;
b = 5;
x = 0;
b1 = b;
while(x < s)
{
  const unsigned int total = x + b;  // <--- introduce 'total'
  if(total > s)
    b1 = s-x;
  SendData(x, b1);
  x = total;   // <--- reusing it
}

A: You can use a conditional move or branchless integer select to assign b1 without an if-statement:
// if a >= 0, return x, else y
// assumes 32-bit processors
inline int isel( int a, int x, int y ) // inlining is important here
{
    int mask = a >> 31; // arithmetic shift right, splat out the sign bit
    // mask is 0xFFFFFFFF if (a < 0) and 0x00 otherwise.
    return x + ((y - x) & mask);
};

// ...
while(x < s)
{
    b1 = isel( x + b - s, s-x, b1 );
    SendData(x, b1);   /*SendData(offset,length);*/
    x += b1;
}

This is only a useful optimization on in-order processors, though. It won't make any difference on a modern PC's x86, which has a fast branch and a reorder unit. It might be useful on some embedded systems (like a Playstation), where pipeline latency matters more for performance than instruction count. I've used it to shave a few microseconds in tight loops.
In theory a compiler "should" be able to turn a ternary expression (b = (a > 0 ? x : y)) into a conditional move, but I've never met one that did.
Of course, in a larger sense everyone who says that this is a pointless optimization compared to the cost of SendData() is correct. The difference between a cmov and a branch is about 4 nanoseconds, which is negligible compared to the cost of a network call. Spending your time fixing this branch which happens once per network call is like driving across town to save 1¢ on gasoline.


IFTTT is one of the best and unique web service that allows users to connect different web applications (like Facebook, Twitter, Dropbox, etc.) using simple conditional statements. IFTTT is short of "If This Than That" and the conditional statements, called "Recipes" by IFTTT. It helps users automate many day-to-day repetitive tasks, thus saves a lot of time. IFTTT already has an official app for iOS users while Android users were left to wait. It seems that the long wait is finally over for Android users. IFTTT app for Android is now available for download from the Google Play Store. IFTTT Android app like its sibling iOS app looks clean and is very powerful. The app comes with special "Android channels" which gives more power to the users. Users can now use these channels (Android smartphone functions) to create IFTTT recipes. You are now just limited to your imagination for creating powerful recipes and become Android power user. Here's our first-hand quick review of the official IFTTT app for Android.
When you launch the IFTTT app for the first time on your Android smartphone, you're greeted by a brief informative tour of the IFTTT app. Through this tour, IFTTT explains some basic tasks along with a pictorial overview about how the service works. It will be helpful for first time IFTTT users who wants to try the service. At the end of this small tour, the sign in or sign up screen comes up. Once you sign in, the app displays different Android channels available for you in its Android app.
Simply tap on the Android channels and select a recipe to use. You can either create your own recipe by tapping on the button at the top right or you can use recipes created by other IFTTT users. The Android channels lets you manage photos, calls, notifications and more by connecting them to other channels by creating or using IFTTT recipes.
Simply tap on the options button to see app settings. Here, you can view all the available recipe channels in use. The IFTTT app lets you easily stop, delete or edit recipes from here.
The app also lets you browse recipes by collection, featured recipes, trending recipes, and the all time top recipes. You can enable any one of the recipes listed here. It also lets you share your recipes created using the app.
Are you a power IFTTT user or a first time user? Share with us your experience using the IFTTT app for Android.
You can download IFTTT app for Android from Google Play Store.


text:
Q: Is it possible to utilize the same service worker for two projects? I have an issue with a service worker, I have two different projects that are in the same server but in different folders, and I want to precache the files on project number 2 using my service worker (My service worker is already working on project number 1). My question is, is it possible to do this? is there any other way I can attack this? Any help is very much appreciated.

A: In general, yes, as long as the service worker is hosted at a URL that is at the same level (or "higher") than the root of each of those projects. That would ensure that each project will be within scope of the service worker.
I'm assuming that one of the challenges you're asking about relates to creating a precache manifest within that service worker that contains build artifacts from both projects. There are a few different ways to tackle that, but I think the most straightforward would be to ensure that you always run the build process for each project at the same time, and then when you use Workbox's build tooling to create the precache manifest, you ensure that you grab all the assets that were output by each of the projects.
The specifics of configuring that build process depends on what you're currently using. You mention that there's a service worker (presumably using Workbox's precaching) already in place for the first project, so I think just using the same build setup, with tweaks to pick up the additional assets, would be easiest.


text:
Lesbian Porn for Straight Men
1 Comment	/ Sex & Relationships / By Venus O'Hara
Lesbian Porn for Straight Men. Photo by Lourdes Ribas.
If I was asked to choose my favorite porn genre, I would have to say "lesbian", even though I never watch porn and I'm not a lesbian.
When I googled lesbian porn and found more than 47 million results, I thought that there would be more than enough clips and images to keep me entertained. However, when I had a closer look, I found that there was little, or nothing, to satisfy my own sapphic desires.
Lesbian porn isn't the same as 'porn for lesbians' or 'porn for bi women'. Lesbian porn is, without doubt, focused on the needs of the male spectator with its obsessive focus on close-up, gynaecological shots and surgically enhanced actresses with long, fake nails that look like claws. That detail in particular is a big no-no when it comes to sex between women. Another, typical feature is an overemphasis on the use of sex toys like dildos and harnesses. During my sapphic era, it would never have occurred to me to sit on a sofa and lick a dildo with another girl but that scenario is sadly typical in lesbian porn.
It's not that I'm against using sex toys with a woman but, personally, if I wanted to see penetration on screen, I'd prefer it to be with a real penis. After all, penetration isn't everything. According to my experience, the porn on offer bears no relation to the reality of sapphic sex. But, then again, the fact that porn does not portray real sex is nothing new.
My ideal film would have an androgynous girl and a feminine one; both with natural bodies. It would have to look as though they were really enjoying it and not just performing for a masculine audience. If there is anything really like this out there, I still haven't worked out how to find it. If someone can help me with this, I'd appreciate a recommendation in the comments below.
>My favourite lesbian sex scenes aren't actually from the porn world. The L Word was an American tv series that detailed the life and loves of a group of lesbian women. The love scenes it featured were very exciting. This was due to the obvious sexual chemistry that existed between the highly talented actresses. There was sexual tension, nudity and convincing sex scenes. Although it was all fictional, it came as a real surprise to find out that the majority of the actress were heterosexual.
Shane & Carmen in 'The L Word'.
When I talked to men about this topic, some told me that they didn't enjoy lesbian porn because the lack of a male presence in the scenes meant that they couldn't identify themselves with it. For others, the opposite was true because they felt that the female performers seemed to be doing a private show, just for them.
Of course, lesbian porn or movies that feature sex between two women aren't produced just to attract heterosexual men, lesbians or bisexual women. In fact, many straight women enjoy this genre, given that it dramatises one of the most popular female fantasies – that of being with another woman.
Interestingly, a lesbian friend, who consumes a great deal of porn, told me that it was hard for her to relate to porn with two feminine women. She didn't like the over-use of dildos either. When she searched for porn online, she preferred straight porn because she perceived that the actresses were more authentic and were more involved in their scenes.
Translation of 'Porno lesbico para hombres heteros', published in El Pais.
1 thought on "Lesbian Porn for Straight Men"
hola venus,
maybe i'm a bit too enthusiastic when it comes to maria beatty, especially her erotic noir is in the lesbian genre (movies from and for women) the best i know. and among her brilliant movies, this is the most appealing, imho:
http://www.bleuproductionsonline.com/films/post-apocalyptic-cowgirls/
the sequel is good too, though.
also excellent is:
https://crashpadseries.com/queer-porn/shine-louise-houston/
if you find some you're thrilled – please tell me.
'ta luego


text:
His Beatitude Onuphry Voices Support for Serbian Church in Montenegro
Source: Union of Orthodox Journalists
The UOC Primate expressed concern over the deterioration of the Serbian Church in the territory of Montenegro and the threat of forcible seizure of its shrines.
Pravmir.com team | 21 August 2019
His Beatitude Metropolitan Onuphry of Kiev and All Ukraine. Photo: UNN
Metropolitan Amfilohije of Montenegro and the Littoral Reposes in the Lord
The Most Mass Prayer Service in Defense of the Serbian Church Held in Montenegro
Statement of the Holy Synod of the Russian Orthodox Church on the Situation in Montenegro
Montenegro's Praskvica Monastery: 'Our love to Russians may seem strange but it's sincere' – priest
Alexander Nevsky Cathedral consecrated in Montenegro
On August 20, 2019, His Beatitude Metropolitan Onuphry of Kiev and All Ukraine sent an address to the Metropolitan Amphilochios of Montenegro and the Littoral in light of the discrimination of the Serbian Orthodox Church in Montenegro and expressed his support for him.
Below is the full text of the document.
A letter from His Beatitude Metropolitan Onuphry to Archbishop of Cetinje, Metropolitan Amphilochios of Montenegro and the Littoral.
Your Eminence!
Most Honourable Vladyka Amphilochios!
It is with deep sorrow that we receive reports on the deteriorating situation of the Orthodox Church in Montenegro. The news that comes to us speaks of the threat of forcible expropriation of the shrines and wanton destruction of certain places of prayer worship, as well as many other acts of violence that cannot but disturb our souls and hearts.
We are also aware of the recent bill, promulgated by the Montenegrin state authorities, which is aimed at taking a number of discriminatory measures against the Montenegrin-Littoral Metropolis of the Serbian Orthodox Church in terms of its Church property. Unfortunately, all this happens in the wake of the support of nationalist sentiments by politicians and other stakeholders, alien to the nature of the Church, in order to separate Orthodoxy in Montenegro from the ancient tradition of the Serbian people.
These trials of Montenegrin believers are especially empathized in Ukraine, where the persecution of Holy Orthodoxy by individual agents of our Ukrainian state does not stop either. The clergy and laity of the Ukrainian Orthodox Church are still confronted with a similar situation when some politicians, for the sake of the immediate secular interests, continue to tear the Body of the Church of Christ and introduce the spirit of secularism into the church sphere. Therefore, our hearts beat in unison offering prayers for each other today.
According to the Holy Scripture, "if one part suffers, every part suffers with it; if one part is honored, every part rejoices with it" (1 Cor. 12:26). In these Gospel words, we find rejoice and comfort and our sorrow is transformed into joy.
On behalf of the episcopate, clergy and laity of the Ukrainian Orthodox Church, I express fraternal prayerful support to you, dear Vladyka Amphilochios, as well as the flock entrusted to your care, and I wish the continual help of God in your firm standing for the purity of the Orthodox faith and unshakable unity of the Church of Christ and our Lord, which is the pillar and foundation of the truth (1 Timothy 3:15).
With brotherly love in Christ
Onuphry,
Metropolitan of Kiev and all Ukraine,
Primate of the Ukrainian Orthodox Church
As reported by the UOJ, previously Archpriest Nikolai Danilevich, deputy head of the Department for External Church Relations of the UOC, noted that the religious situation in Montenegro is largely similar to what is happening in Ukraine, and there is an explanation for this: the same big geopolitics is behind the developments in Montenegro and Ukraine.
Recall that the Holy Synod of the Russian Orthodox Church issued a statement on thesituation in Montenegro, in which they expressed deep concern about the deteriorating situation with eparchies of the Serbian Patriarchate in Montenegro, where the schismatic religious organization "Montenegrin Orthodox Church" has been active for several years. The members of the Synod called on the Montenegrin authorities "to stop discrimination and detriment of the unity of the Serbian Orthodox Church".
Pravmir.com team
The UOC Primate expressed concern over the deterioration of the Serbian Church in the territory of Montenegro and the threat of forcible seizure of its shrines
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Sin is the bearer of death. If a person commits ten sins, ten stings strike him and gradually…
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You'll make a photo stop at an authentic windmill in the heart of Amsterdam. This is your chance to see such a colossus from close, by means of which the Dutch people managed to reclaim more than 55% of their territory that is below sea level. During a free guided tour in Amsterdam's Diamond Factory you'll learn about the history and techniques of the diamond cutting and polishing process.
Amsterdam has so much more to offer besides the canals. On this live guided tour we will show you countless interesting sights and amazing views on the outside of the city centre. You will be able to admire the idyllic suburban scenery and the architecture of beautiful mansions. We will have a photo stop at a remarkable windmill and you will have the opportunity to visit a diamond factory in the Museum District. From this point you can decide whether you want to explore Amsterdam further on your own or return to the bus which will take you back to where the tour started.
Check-in at: De Ruijterkade 34a, In the IJ hall of Central Station on the far eastern side.
Check in at the location at least 30 minutes before departure time.
Book your tickets right now!
" Good but touristy tour. "
Us & thousands of other people did this tour at the same time. Nice sites & windmill.wad O.K. but only for show, not being used.
" Lovely trip; amazing staff! "
A wonderful trip of the beautiful windmills and the volendam cheese factory. I took this trip with my elderly mother and the staff was extremely nice and helpful and took care of her needs.


The Tower is part of Emaar Properties' Dubai Creek Harbour master plan. Image courtesy of Emaar Properties PJSC.
Once completed, the Tower is expected to be taller than the Burj Khalifa. Image courtesy of Emaar Properties PJSC.
The Dubai Creek Harbour master plan includes high-end residences, leisure attractions and world-class amenities. Image courtesy of Emaar Properties PJSC.
Emaar Properties is developing a new iconic structure called The Tower as part of its 6km² Dubai Creek Harbour master plan in Dubai. The $1bn skyscraper is expected to become the world's tallest building at 928m, overtaking the current world's tallest building Burj Khalifa.
The Tower will serve as the central piece of the Dubai Creek Harbour master plan, which includes the development of nine different commercial districts comprising high-end residences, event spaces, galleries, hotels and other amenities. It is expected to establish the Dubai Creek Harbour Project as a prominent attraction in Dubai.
Santiago Calatrava has developed the design for the Tower, while the construction is expected to commence in 2016 and be completed by 2020 in time for the Dubai Expo 2020.
Dubai Creek Harbour master plan includes nine districts such as the Island District, the Canal District and the Sanctuary District. The Island District includes high-end residences known as Dubai Creek Residences, Creekside 18 and Harbour Views.
Dubai Creek Residences include six 30-storey to 40-storey residential towers, providing spectacular views of the harbour and Dubai's skyline. The residences will be lined with yacht clubs, pools, a marina and retail spaces.
Creekside 18 includes two 37-storey residential towers, while Harbour Views includes 51-storey twin residential towers, which provide easy access to several of the amenities and leisure spaces in the Island District.
The project will also include recreational experiences, eco-resorts, landscaped gardens, parks, civic facilities and other amenities. It is located ten minutes away from Dubai International airport and will be connected to the main city through the Creek Bridge.
The Tower's design is inspired from the natural shape of a lily bud and takes the image of a minaret, a distinct feature of the Islamic culture. The central column is shaped in the form of a slender stem. A net of steel cables stays will anchor the reinforced concrete column to the ground and provide structural stability, and will be the longest ever used on a structure.
Damper systems and shock absorption systems will be placed at different locations and heights to improve the structural safety and stability. Comprehensive wind tunnel tests were completed in July 2016, establishing the structural stability of the tower.
The top of the building will be oval-shaped, containing ten observation decks that will provide panoramic views of the city. The observation decks include two garden decks, which are designed on the lines of the Hanging Gardens of Babylon.
The building will also feature rotating balconies that extend outside the tower's façade, a high-end hotel, green spaces, restaurants and event spaces. The 500m-diameter central plaza of the tower will include retail spaces, a museum, educational amenities and an auditorium.
The peak of the tower will emanate a beacon of light at night. The main structure and steel cables will be illuminated to highlight the tower's design. Movement lighting will also be used to enhance the structure's visual appeal.
A highly efficient cooling system will be added to the skyscraper, where collected water from the system will be used to clean the façade of the building. Green corridors across the structure will provide solar protection. An integrated shading system will improve the energy-efficiency of the building.
The tower's construction will be divided into three packages. The first package will consist of the piling work and the second will be the concrete base, while the third package will be for the steelwork, which includes the fabrication of the steel cables.
Santiago Calatrava is responsible for the design and engineering work. ChapmanBDSP served as the mechanical, electrical and public health consultant during the tower's designing phase. Aurecon was contracted by Santiago Calatrava to work on various design elements for the building.